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THE POPULAR EDUCATOR. 



You will have noticed, in connection with these statements, 

 that a sound produced by twice the number of vibrations (or 

 half the length of string), as compared with any other sound, is 

 so much like that other sound as to be called by the same 

 name thus, Don and Don'. Notes thus related are said to be 

 At the interval of an "octave" (eighth), the one to the other. 



They are also called " replicates" of one another. Each note of 

 the scale, therefore, has its higher and lower replicates as far as 

 the voice can reach. A figure "one" (or "two," if needed) 

 above the note shows that it is the higher replicate. A figure 

 below a note shows it is the lower replicate. Be careful to 

 notice this in connection with the exercises which follow. 



EXERCISE 5. KEY G. 



In this exercise you should take a middle sound of your voice 

 (neither high nor low) for the key-note or DOH. A friend again 

 will be needed to set you a " pattern " with voice or instrument. 

 Tell him to play or sing G, D, B, G, D, B, G. He may under- 

 stand these names better than those by which you are learning, 

 and to which your attention must at present be confined. Take 

 care to sing the upper SOH with a clear trumpet-like sound, and 

 ME with a calm but firm effect. Sing the exercise slowly, but 

 with sustained decision. It will greatly add to your pleasure if 

 you can get a friend to sing the second line of notes while you 

 are singing the first. This exercise, too, will give you confidence. 

 [If you are singing from the staff above, remember that one 

 voice will take the higher notes of each couple while the other 

 voice is taking the lower notes. The open notes, which you 

 have here, when they occur in the same twine with the black notes, 



which were used in the former exercises, are to be sung twice as 

 long, in time, as the black notes ; and the open notes without a 

 stem, like the last note in this exercise, are to be twice as long 

 as those with a stem. This relative length does not, however, 

 hold true out of the same tune. An open note in one tune may 

 be no longer than a black note in another, and a black note in 

 one tune no shorter than an open note in another. Let it, how- 

 ever, be repeated that it will be much better for the learner not 

 to pay any attention at present to the old " notation " (way of 

 writing), or to the remarks thus placed between brackets. He 

 may get his mind puzzled with the notation of music, when he 

 ought to be giving his whole attention to music itself. Sing 

 exclusively from the syllables, and never leave an exercise until 

 you can sing it correctly from 'memory, pointing on the 

 modulator the while.] 



DOH 

 DOH 



KAY ME 

 TE DOH 



FAH Son 

 RAY ME 



EXERCISE 6. KEY D (OR C). 

 -J _!_ 



LAH TE 

 FAH Son 



Don 1 Don 1 

 LAH LAH 



Take some low sound of your voice for this and the next 

 exercise. Be careful to give an "accent" (additional force, 

 not length of sound) to the notes which follow an upright bar. 



The exercise which follows differs from the present only in this 

 quality of " accent," and yet how great the difference ! Learn 

 to sing both the upper and the lower " parts." 



EXERCISE 7. KEY D (OR C). 



EXERCISE 8. BRAILSFORD'S CHANT. KEY F. 



In | all thy ' ways ac || know ledge | 



him 



And 



he shall di j rect thy | paths ' 



The attention of the learner is directed exclusively to that 

 which lies between the two staves of five lines. Do not attempt 

 the words until you have perfectly mastered the syllables. Tell 

 your musical friend, who sets you the " pattern," to play in the 

 treble clef with one flat. If, however, you can sing the " scale" 

 with accuracy you will not need his help. Take some rather 

 low sound for DOH. Sound the " tonic chord," or DOH, ME, 

 SOH. Let the three notes be well established in your ear. 

 Then notice that the first note of the upper line is ME. Sing 

 ME with a somewhat prolonged sound, as indicated by the mark 

 of continuance. Then trace the other notes on the modulator 



as you sing them, at every mistake or uncertainty striking the 

 " chord," and beginning again with great patience. When you 

 can sol-fa the chant from the modulator by memory, then learn 

 to use, instead of the syllables, the words " One, two, three, 

 four; one, two, three, four, five, six," still pointing to the right 

 notes on the modulator. It may be well for you now to learn 

 the second line of notes (to be sung by another voice along with, 

 the upper line) as you learnt the first, and not, for the present, 

 attempt the words. But if you wish to use the words, then first 

 learn to sing the words " Trust in the Lord with " on the single 

 note ME. To do this with distinct utterance, you should divide 



